Love it, thank you Jerome! To confirm, you’re saying to use ISO mode (analogue gain), keep the HS at default, and experiment with underexposing the image?
I’ve been watching your videos about the ETTL/ETTR methods and it’s really great to see you can underexpose to preserve highlights on these cameras! I’m used to an Slog3 workflow (and to be honest I do the same thing with my Ronin 4D ProRes files right now as well), where I overexpose about 1 to 1.5 stops then pull down with a stylized ETTR LUT I made. It helps cover noise well, but it pushes my highlights to their limit often times, so it can be risky. Underexposing will be a fun new workflow to experiment with! Sounds like now I will want to flip my thinking, and push the limits of my shadows instead of the highlights (of course not in every scenario, though). Once I experiment and do some tests, comparing noise and rolloff/highlight detail performance, I’ll make an ETTL LUT that helps me dial in the right exposure.
Can you confirm for me what the dual native ISO transition point is for the LF mk2/Edge 6K when using ISO mode? If I’m not mistaken, it’s somewhere around 1600 where it switches over?
Is it still true that in ISO mode, it’s best practice to use negative gain on the higher native ISO VS positive gain on the lower native ISO (i.e. 2000 ISO would have cleaner shadows than ISO 1250)?
Thanks for all your insight and advice, Jerome!
And yes, I actually purchased your Arri conversion LUTs for the 6K just a couple days ago and have been really impressed with the results! The DaVinci default Arri LogC3 Rec709 LUT was already impressive with these Kine files, but with your LUT (log to log), it brings out even more nuance to things like skin tones and greenery. Excellent work! Excited to join the family. And thanks again!
